Difference between pages "A History of TV Style (Discussion)" and "Concept of Genre (Discussion)"

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(removed wikilink; updated LAUGH-IN)
 
 
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'''All groups'''
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== Kitses ==
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#Explain the concept that goes by the terms, "technological manifest destiny" and "technological determinism." Why is it a ''mistaken'' notion when applied to TV?
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{{Gallery
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#*What are some examples that you've seen that prove this concept is wrong? (Don't rely on the examples in the book and you can refer to technology other than that involving video or TV.)
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|title=''My Darling Clementine''
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#What is a kinescope? How were kinescopes created and what characterized how they looked? (See figures in Copeland's chapter.)
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|width=400
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|height=300
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''' Group 1'''
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|lines=2
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#Outline the history of TV editing--listing the major technological changes. How did these changes have an impact on TV style?
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|align=center
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#Why type of editing equipment do you suppose was used to cut the following programs:
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|File:Clementine08 jpg.jpg|alt1=A screen shot from My Darling Clementine.|A screen shot reproduced in ''Horizons West'', p. 22. [http://www.tcf.ua.edu/Classes/Jbutler/T440/Clementine/index.htm See more images.]
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#*''All My Children'':
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}}
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#*''Northern Exposure'':
 
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#*''Seinfeld'':
 
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#*''The Mindy Project'':
 
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'''Group 2'''
 
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#List the elements of the production of ''I Love Lucy'' that make it significant to the history of TV style. Explain ''why'' each element is important.
 
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#What are examples of recent (within the past five years) programs that are shot the same way that ''Lucy'' was shot?
 
  
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'''Group 3'''
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#'''Groups 1 and 2:''' Kitses sees the Western as containing a "philosophical dialectic," which he explains in terms of a "series of antinomies." What does he mean by this? He then charts them in a table that balances "The Wilderness" against "Civilization." Choose a Western you've seen (2010's ''True Grit'' maybe) and provide examples from it that illustrate this. Could this notion of a dialectic be applied to other genres?
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#The history of color TV is very complicated. Create a timeline that lists the significant events leading up to color TV's widespread implementation.
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#Kitses lists four aspects of the genre that he sees as central to its definition (below). What does he mean by each of these and how might they apply to genres ''other than the Western''? Do they fit film noir, for example?
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#What impact did color technology have on TV style?
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##'''Group 3:''' History
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#What is the NTSC and why was it created?
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##'''Group 3:''' Themes
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##'''Group 4:''' Archetype
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##'''Group 4:''' Icons
  
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'''Group 4'''
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== Buscombe ==
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#When did the remote control first appear and what were the names of the early devices?  
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'''Group 3:'''  
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#*How did they work?  
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#Buscombe believes that one can escape the "empiricist dilemma" by relying on Wellek and Warren's notion of "inner form" and "outer form."  What does he mean by each of these terms?
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#How do modern remote controls work and when did they become commonly used?
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#What categories does he provide for aspects of outer form?
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#What have broadcast networks done to try to combat zapping?
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#Choose a genre other than the Western. How would you describe its outer form?
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#What aspect of Kitses' definition of genre corresponds to outer form?
  
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{{Gallery
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== Collins ==
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|title=Early Remote Controls
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'''Group 4:'''
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|width=300
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#Collins's article is "A Reply to Ed Buscombe."  So, what does he feel is wrong with Buscombe's approach?
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|height=200
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#What approach to genre does Collins propose instead of outer form?
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|lines=1
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#Choose a genre other than the Western. How would you describe it in terms of Collins's approach?
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|align=center
 
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|File:1956 Zenith Remote Ad.JPG|alt1=Zenith remote-control ad (1956).|Zenith remote-control ad (1956).
 
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|File:Zenith Space Command.jpg|alt2=Zenith Space Command remote control unit.|Zenith Space Command remote control unit.
 
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|File:56zenith.jpg|alt3=Zenith Space Command receiving TV set (1957).|Zenith Space Command receiving TV set (1957).
 
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|File:Toshiba Remote Control CT-9863.jpg|alt4=A Toshiba remote control, photographed in 2009.|A Toshiba remote control, photographed in 2009.
 
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}}
 
  
 
== Bibliography ==
 
== Bibliography ==
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#Gary Copeland, "A History of Television Style," in Jeremy G. Butler, ''Television: Critical Methods and Applications'', '''third edition'''. Not included in fourth and subsequent editions of ''Television''.
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# Jim Kitses, ''Horizons West'' (Bloomington: Indiana University Press, 1969) 6-27.
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# Edward Buscombe, "The Idea of Genre in the American Cinema," ''Screen'', 11.2 (1970): 33-45.
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# Richard Collins, "Genre: A Reply to Ed Buscombe," ''Movies and Methods'', ed. Bill Nichols (Berkeley: University of California Press, 1976) 157-163.  
  
 
==External links==
 
==External links==
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*[http://tcf.ua.edu/EO/DV/Kinescope-TapeComparison.php Kinescope-Videotape comparison]
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*[http://www.tcf.ua.edu/Classes/Jbutler/T440/Clementine/ Frame grabs from ''My Darling Clementine'']
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*[http://www.tcf.ua.edu/EO/DV/Clorox.htm Clorox commercials].
 
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*[http://tcf.ua.edu/EO/DV/Laughin19680914.php ''Rowan & Martin's Laugh-In''] (episode 15, 9/16/1968)
 
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*[http://youtu.be/gV0Ralac0w4 ''The Magic of Television''] (1941)
 
  
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[[Category:TCF311]]
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[[Category:TCF440/540 Discussion]]
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[[Category:TCF311 Discussion]]
 

Revision as of 13:40, 6 February 2012

Kitses

Template:Gallery

  1. Groups 1 and 2: Kitses sees the Western as containing a "philosophical dialectic," which he explains in terms of a "series of antinomies." What does he mean by this? He then charts them in a table that balances "The Wilderness" against "Civilization." Choose a Western you've seen (2010's True Grit maybe) and provide examples from it that illustrate this. Could this notion of a dialectic be applied to other genres?
  2. Kitses lists four aspects of the genre that he sees as central to its definition (below). What does he mean by each of these and how might they apply to genres other than the Western? Do they fit film noir, for example?
    1. Group 3: History
    2. Group 3: Themes
    3. Group 4: Archetype
    4. Group 4: Icons

Buscombe

Group 3:

  1. Buscombe believes that one can escape the "empiricist dilemma" by relying on Wellek and Warren's notion of "inner form" and "outer form." What does he mean by each of these terms?
  2. What categories does he provide for aspects of outer form?
  3. Choose a genre other than the Western. How would you describe its outer form?
  4. What aspect of Kitses' definition of genre corresponds to outer form?

Collins

Group 4:

  1. Collins's article is "A Reply to Ed Buscombe." So, what does he feel is wrong with Buscombe's approach?
  2. What approach to genre does Collins propose instead of outer form?
  3. Choose a genre other than the Western. How would you describe it in terms of Collins's approach?

Bibliography

  1. Jim Kitses, Horizons West (Bloomington: Indiana University Press, 1969) 6-27.
  2. Edward Buscombe, "The Idea of Genre in the American Cinema," Screen, 11.2 (1970): 33-45.
  3. Richard Collins, "Genre: A Reply to Ed Buscombe," Movies and Methods, ed. Bill Nichols (Berkeley: University of California Press, 1976) 157-163.

External links

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